Reviews

... but I just have to say that I agree - this is the possibly the best show ever.

The casting, the plots, the format, the characters, the depth, the honesty - on paper it might sound like it would amount to sentimental slush .. but it is pure class.

Completely and utterly amazing. I only hope another series is produced that's of a similar standard.

If you haven't watched it before, get the lot on DVD... you'll have a very fulfilling couple of weeks even if you don't leave the house.

(this line is just to keep the comment entry form happy)

Richard Jenkins' portrayal of lacklustre professor Walter is beautifully underplayed, somnambulistically acting out the various roles of his life as a stilted economics professor. The beginning scenes unravel artfully and launch into the story where Walter is abruptly introduced to the young couple (Tarek and Zainab).

The ensuing impromptu friendship that develops is well conceived. The wariness and strong-will of Zainab contrasts well against her boyfriend Tarek's more forthright relaxed nature. The interplay between Tarek, Zainab and Walter is at times awkward, at times touching. I felt that these quality performances go a long way towards forgiving the unlikely set of circumstances (and responses) that brought and kept the three characters together.

I thought the scenes where Walter learns to play the djembe were beautifully played; Walter's awkward but curious initiation to drumming and the (unexpected) expression of pure joy on his face while playing added believable depth to an otherwise restrained and austere performance.

Walter's exposure to the djembe perhaps underpins the films well-intentioned message – that our lives are enriched by living side-by side with other cultures. Good intentions aside, I think the second half of the film suffers because of the filmmaker's heavy-handed desire to go further and promote the idea that 'good people suffer in the hands of US immigration control'.

In my opinion producing a film with any agenda is problematic because it requires a degree of rationalisation and simplification which works against interesting characterisation. Life is very rarely straightforward – and when it is straightforward, it isn't interesting to watch.

In the case of the second half of The Visitor, I felt that this overarching requirement to show the characters in a positive light removed any sense of conflict the characters might have otherwise possessed. The story no longer had a life of it's own – and seemed to involve reaching a predetermined conclusion through any route possible.

The character of Tarek's (caring / strong / dignified) mother, fell short of the high-expectations that I'd built-up during the first half of the film. I felt her portrayal was lacking – and I didn't fully understand the function her character played. The subsequent relationship that develops between Walter and Mouna seemed gratuitous and left too many questions unanswered.

After watching this and Tom McCarthy's first film (The Station Agent), it's clear to me that McCarthy is an accomplished director / writer - who perhaps excels at directing character-based stories. I think this film suffers because halfway through the film McCarthy attempts to move focus from a rich exploration of character, to a slightly ill-conceived issue-based drama.

Nevertheless, I thoroughly enjoyed The Visitor.

I felt this film was a study of ulterior motives; and after watching it, it left me focusing on the behaviour of the members of the film crew rather than Muthana's deeds. Muthana's journey out of Iraq is presented as an altruistic experiment; but, much like the invasion, the ramifications are ill-thought and the gesture is meek.

It seems that much of US politics focuses on character, so I can see why a person might judge this film on the personality of it's main-player; but I think that it would be an error to summarise 'Operation Filmmaker' based on a reflection of Muthana.

In my opinion, it's unfortunate that the previous poster has overlooked the fact that Muthana was engaged in a project that seemed more focused on professional vanity, than genuine support.

Part way through the film, some members of the crew express their displeasure that he wasn't more humble and willing to chip-in, but I'm left thinking that this may have been because he didn't meet the specific narrative objectives that they had imagined he'd fulfil. The decision to document the project from the very beginning, in some way seemed testament to this.

I came away thinking about how the war in Iraq has affected Iraq's society in complex ways. We're often informed of what the 'Iraqi citizen' thinks – but we're rarely exposed to the idea that there is no general consensus. The society of Iraq is often trivialised and compacted into a monoculture – it's strange and bizarre that we're able to accept this.

The film is interesting on many levels and it feels like the result wasn't expected by those involved in the project – which makes the journey all the more engaging. Mostly it reminded me of the importance of conviction – and the folly involved in trying to absolve guilt using superficial means.